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• 20220630_Culture_1 papers 1-10: 1: 英语笔译 卞王倩 Bian Wangqian 202170081563 Europeanized Chinese and Cultural Factors Behind it, 2: 英语笔译 曹姣 Cao Jiao 202170081564 Research on court culture in the Tang Dynasty from the perspective of poem -- take Changhenge for example, 3 英语笔译 陈路瑶 Chen Luyao 202170081565, 4 英语笔译 崔晓凡 Cui Xiaofan 202170081566, 5 英语笔译 邓阳林 Deng Yanglin 202170081567, 6 英语笔译 高智慧 Gao Zhihui 202170081568, 7 英语笔译 何丽娜 He Lina 202170081569, 8 英语笔译 胡良明 Hu Liangming 202170081570, 9 英语笔译 黄琼 Huang Qiong 202170081571, 10 英语笔译 邝雨琪 Kuang Yuqi 202170081572
• 20220630_Culture_2 papers 11-20: 11 英语笔译 黎溢佳 Li Yijia 202170081573, 12 英语笔译 李思敏 Li Simin 202170081574, 13 英语笔译 李思源 Li Siyuan 202170081575, 14 英语笔译 李婷 Li Ting 202170081576, 15 英语笔译 李欣 Li Xin 202170081577, 16 英语笔译 李颖 Li Ying 202170081578, 17 英语笔译 李媛 Li Yuan 202170081579, 18 英语笔译 李梓婕 Li Zijie 202170081580, 19 英语笔译 梁思婷 Liang Siting 202170081581, 20 英语笔译 廖诗韵 Liao Shiyun 202170081582
• 20220630_Culture_3 papers 21-30: 21 英语笔译 刘唱 Liu Chang 202170081583, 22 英语笔译 刘乐乐 Liu Lele 202170081584, 23 英语笔译 刘双英 Liu Shuangying 202170081585, 24 英语笔译 刘婷 Liu Ting 202170081586, 25 英语笔译 刘瑶 Liu Yao 202170081587, 26 英语笔译 刘珍 Liu Zhen 202170081588, 27 英语笔译 龙翰良 Long Hanliang 202170081589, 28 英语笔译 罗姚林 Luo Yaolin 202170081590, 29 英语笔译 马艳焕 Ma Yanhuan 202170081591, 30 英语笔译 聂薇 Nie Wei 202170081592
• 20220630_Culture_4 papers 31-40: 31 英语笔译 孙丽君 Sun Lijun 202170081593, 32 英语笔译 仝雨梦 Tong Yumeng 202170081594, 33 英语笔译 童略雅 Tong Lueya 202170081595, 34 英语笔译 庹树梅 Tuo Shumei 202170081596, 35 英语笔译 王思琪 Wang Siqi 202170081597, 36 英语笔译 王亚娟 Wang Yajuan 202170081598, 37 英语笔译 肖冬晴 Xiao Dongqing 202170081599, 38 英语笔译 肖佳莉 Xiao Jiali 202170081600, 39 英语笔译 谢晓莹 Xie Xiaoying 202170081601, 40 英语笔译 熊嘉玲 Xiong Jialing 202170081602
• 20220630_Culture_5 papers 41-50: 41 英语笔译 颜媛 Yan Yuan 202170081603, 42 英语笔译 杨心怡 Yang Xinyi 202170081604, 43 英语笔译 杨紫微 Yang Ziwei 202170081605, 44 英语笔译 张国浩 Zhang Guohao 202170081606, 45 英语笔译 张姣玲 Zhang Jiaoling 202170081607, 46 英语笔译 张瑞 Zhang Rui 202170081608, 47 英语笔译 赵宇翔 Zhao Yuxiang 202170081609, 48 英语笔译 郑冬琴 Zheng Dongqin 202170081610, 49 英语笔译 钟青 Zhong Qing 202170081611, 50 英语笔译 周皓熙 Zhou Haoxi 202170081612
• 20220630_Culture_6 papers 51-60: 51 英语笔译 周哲 Zhou Zhe 202170081613, 52 英语笔译 朱丽娟 Zhu Lijuan 202170081614, 53 英语口译 段小蝶 Duan Xiaodie 202170081615, 54 英语口译 方楚晗 Fang Chuhan 202170081616, 55 英语口译 胡雯雯 Hu Wenwen 202170081617, 56 英语口译 黄天琪 Huang Tianqi 202170081618, 57 英语口译 兰绮 Lan Qi 202170081619, 58 英语口译 李丹 Li Dan 202170081620, 59 英语口译 李立飞 Li Lifei 202170081621, 60 英语口译 莫雨婷 Mo Yuting 202170081622
• 20220630_Culture_7 papers 61-70: 61 英语口译 彭慧璇 Peng Huixuan 202170081623, 62 英语口译 时友洁 Shi Youjie 202170081624, 63 英语口译 伍佳惠 Wu Jiahui 202170081625, 64 英语口译 夏晶 Xia Jing 202170081626, 65 英语口译 向师琦 Xiang Shiqi 202170081627, 66 英语口译 向望 Xiang Wang 202170081628, 67 英语口译 徐舞 Xu Wu 202170081629, 68 英语口译 张静芝 Zhang Jingzhi 202170081630, 69 英语口译 张旻丰 Zhang Minfeng 202170081631, 70 日语笔译 曹梦然 Cao Mengran 202170081632
• 20220630_Culture_8 papers 71-80: 71 日语笔译 胡梦琪 Hu Mengqi 202170081633, 72 日语笔译 张白鹭 Zhang Bailu 202170081634, 73 朝鲜语笔译 刘安莉 Liu Anli 202170081635, 74 朝鲜语笔译 王思佳 Wang Sijia 202170081636, 75 朝朝鲜语笔译 徐盖 Xu Gai 202170081638, 76 朝鲜语笔译 徐文慧 Xu Wenhui 202170081639, 77 外国语言文学 Akira Jantarat 202121080009, 78 比较文学与跨文化研究 Mahzad 202021080004, 79 英语语言文学 Mimi 2020GBJ002301

英语笔译 颜媛 Yan Yuan 202170081603

Interpreting Chinese and Western Language Humor Yan Yuan

Abstract

Intercultural communication is currently a cutting-edge topic in the international academic community.Intercultural communication refers to communication activities between people with different cultural backgrounds.It studies the relationship between cultural and communication,with a particular focus on the cultural factors that interfere with communication.At present, English language teaching in universities competence, and neglects social meaning.Multidisciplinary by nature,the study of humor has been approached from various perspectives,such as philosophy ,psychology,linguistics ,literature,sociology and anthropology.However,the previous research ,though somewhat comprehensive ,hasn't yet generated systematic and thus convincing theories concerning the definition,the working mechanism of humor as well as its linguistic expressions.The study of humor language in different cultures is not only limited to the linguistic level,but also rises to the level of intercultural communication. The ultimate goal of cultural communication and integration is the overall development of human beings and their harmonious coexistence.

Key words

Chinese and western humor ;Cross-cultural communication; Humor;Culture

Introduction

Humor has always been an interesting topic in both ancient and modern times, and many people have studied the phenomenon from different perspectives,such as aesthetics,sociology ,psychology,linguistics,philosophy,etc.Theories about humor can also be described as a lot.Humor can be expressed in many different ways, in a dramatic way(comedy),in a pictorial way(cartoons), in a musical way, etc.Language, as a vehicle for the expression of human thought and ideas, is of course an important way and factor in constituting humor, and thus linguistic humor.Language is a complex system in which everything is based on relationships, and there is no such thing as a system of language system.The complexity of the language system is ,of course , a resource that can often used for humorous language. Humorous language is generated under certain conditions through certain linguistic elements and their relationships with each other.The current research on humor language in China is very one-sided and inadequate,mostly staying in the area of rhetorical patterns, words and the techniques of humor language formation,without a comprehensive, three-dimensional and explanatory study.In view of this,in this thesis we are interested in finding out the connection between the elements of the language system and their interrelationships with humor,i.e.,what forms or relationships are humorous?What forms or relationships are humorous and under what circumstances?In this way, we break the one-sidedness of the original research and think further about the study of humor language, deepen our understanding of the "surface structure"and "deep structure"of humor language , and identify some patterns between linguistic forms and humor language. It is an important reference for us to further understand the mechanism of humor language production and even the application of humor language.

Literature Review

As we are known,language is the most important communication tool for human being , though which people known the world and perceive it."The act of language , though not the whole state of human existence,is the basic state of human existence."(Qian Guanlian.2005) Heidegger said,"Man dwells in the dwelling built by language.Humor is also distinguishing feature of human beings (Nash,1985).Human beings mostly express humor through language, which can be divided into two man categories:oral language and written language. The spoken language is the basis of the written language, and the written language is only the expression of the spoken language.Therefore,humor can also be related to language through these two media,and the specific product is the general form of oral language humor,such as comedy ,skits and so on(Of course,they also include the body language of certain performs).Another form of expression is to record humorous scenes or stories in the form of words to make readers laugh,such as humorous stories in newspaper and magazines, humorous novels and so on. From this point of view, we can say that the relationship between language and humor is that language is the basis and the tool og humor.And without language, there would be no humor(except silent behavioral humor). This close relationship can be seen from the research history of language and humor.The research on the relationship between them has a long history and rich achievements.The study of humor has traditionally been concentrated and dominated within the disciplines of psychology,philosophy,and sociology. It was not until the the late 1970s that the study of humor in linguistics took its place and gained attention.Traditional linguistic studies of humor point out that humorous elements in oral jokes are more stable and explicit in phonological terms than in written jokes, and that linguistic humor arises when the first level of linguistic symbols(i.e., phonological or written units) moves to the second level(i.e.,the communicative system).This has led to a number of research approaches , such as ambiguity, which is prevalent in many humorous texts and can be divided into phonological-lexical ambiguity, semantic-pragmatic ambiguity,etc. Since the publication of the first academic book titled Humor Linguistics in China, the study of humor linguistics in China has been exciting.Chinese scholars have studied humorous language,especially Chinese humor language, from perspectives.Mr.Hu Fanzhu's Humor Linguistics is the first linguistic book in China that systematically studies humor.Starting from a review of the history of laugh and the theory of "laugh" in China and the west.The book proposes that humor is a spiritual phenomenon with three levels,namely:humor in the broad sense is comparable to ludicrousness, humor in the normal sense refers to ludicrousness that appeals to reason,and the humor in the narrow sense specifically refers to humor that contains intellectual lightning and generosity, a sense of spirituality and life.The book was published and had a great impact on the academic world.A large number of similar books have been published, but it can be said that they basically do not deviate from the technical lines and research ideas outlined by Mr. Hu in that book. According to incomplete statistics , in terms of published papers, we searched for 22 articles on the Chinese journals with the keywords "humor language"; 5 articles with the keyword " language humor";15 articles with the keywords "speech humor" ;9187 articles were searched by the keyword "humor". In terms of published monographs , in addition to "Humor linguistics", subsequent monographs on humor language or humor include Gua Tian's Humor Language Operations ,Gong Weicai's Humor Language Art, Li Junhua's Humor Language,Sun Shaozhen's Fundamentals of Humor and Fifty Methods of Humor Defense and so on. In terms of outstanding master's theses on China Journal Online, there are 15 master's theses with humor language as the topic or keywords.

The Definition of Humor and Humor Language

What is “humor”？There are many different answers to this question.People have interpreted and explained humor form a variety of perspectives, each with their own insights.However , it is a little known fact that the word “金数”is a foreign word in Chinese .The word “humor” in Chinese can be traced back to more than 200 years ago to the“Where silence and quietude reign” in “Longing for Changsha , The Nine Elegies，The Song of Chu”.Wang Yi notes，“Confucius is very good.As poetry written,“Confucius interpreted the word "默" as silence.The mountains in the south of the Yangtze River are high and the wild is very clean, and there is no voice in the desert.”In Shih Chi,“默”（silence) is protrayed as "墨"(Chinese ink).It can be seen that at that time,the word "默"（humor） meant silence.Since then,the basic meaning of "默"(Humor) has not changed for more than 2,000 years.For example, Li Bai,a great romantic poet in Tang Dynasty,wrote in Song of River in Farewell to Cen zhengjun ,"And yet it is worrying to live alone in such a lonely place ."If we consider the meaning of the word "humor", that is , as an aesthetic category we want to study.It is an exotic and a foreign transliteration word in Chinese.In the last century,Mr.Lin Yutang was transliterated from English "Humor" .The reason why Mr.Lin transliterates "幽默" with the word "humor" is to consider their implied meaning(or instant impression meaning) and morpheme association color.Therefore, we can say that humorous words are both transliterated words and free translated words.Since then,the word "幽默" in modern Chinese has gradually deviated from its original meaning， that is , it no longer means "silent", but points to the meaning of humor.According to the related works published in China, there are definitions of humor as follows: Humorous style is one of the key rhetoric style in Chinese......Humor is the use of language conditions to show the humorous interest in things.It is characterized by a light-heartedness and cheerfulness.It is based on " truth" Humor is a rhetorical technique. Humor is a spiritual phenomenon. This spiritual phenomenon has a broad sense,a common sense. There are three levels of humor.Humor in the broad sense is comparable to ridiculousness ,such as comic, witty ,gagging,funny......Humor in the narrow sense refers to the layer of spiritual phenomenon that is most aesthetically valuable.Humor in the conventional sense is a mental phenomenon that has an appeal to the "ridiculousness " of reason. From the above definition of humor,we ca know how complicated its definition is, different viewpoint are different.This in itself shows its complexity as an object of study , and we can simplify it without getting entangled in the complexity of the definition.Based on the above viewpoints, we are more inclined to Hu Fanzhu's understanding and definition of humor in his monograph Humor Linguistic , that is , humor is a spiritual phenomenon, which can be divided into three levels:broad sense,ordinary sense and narrow sense.To sum up, in this paper we can define humor as laughable, that is, having the effect of inducing laughter. 1.1.1 The definition of humor language

From the above definition of humor, we know that humor is a multidisciplinary research topic,people from philosophy,psychology,sociology,linguistics,literature and many other aspects of the phenomenon of humor research.This thesis mainly studies the humor language, and the so-called humor language is "created by the use of various elements of language variation humor.In dynamic terms, it is the atmosphere in which language is used,or a style of language;in static terms, it is a fuzzy collection of linguistic variants, or an aggregation of ways.”（Hu,1987)From this definition,we can draw the following two conclusions:firstly,humor language must be related to linguistic symbols,humor that dose not use linguistic symbols as a carrier is not within the scope of this study,such as Ding Cong's cartoons and mime act are certainly funny, but they are not humor language; second , humor language should be created by the variation of linguistic elements, not just by the narration of language of language symbols.It is necessary to distinguish between humor expressed in language and humor created by language:in verbal humor, language is used only as a tool , and laughter is triggered by the recorded situation, while language itself may not be funny.From this definition, we can see that in fact, the humor expressed by language is to describe a ridiculous situation or thing by using language as a tool to express idea,so that the listener or reader will find the situation or thing ridiculous after appreciating it.It's like expressing a humorous situation in the form of a cartoon,except one is in the form of a cartoon and the other is in the form of language.Like this one: 午餐会发言人匆忙赶来赴约会，当他坐在第一 张桌子前时，他突然意识到了他忘了带他的假牙。 The luncheon speaker was in a hurry to get his appointment,and as he sat down at the first table,he suddenly realized he had forgotten his dentures. 他转向他旁边位男士， 说:“我忘了 带假牙了。” He turns to the man to hin and says，“I forgot my dentures.” 男士说:“没问题。”说着他手伸进口袋里并取出一-副假牙。“试试这一副。”他说。 The man said, “No problem.”He reaches into his pocket and takes out a pair of dentures.“Try this one.”He said. 发言人试了试。“太松，”他说。 “They’re too loose,”the speaker said. 男士接着说:“我还有一副....试试。 ” The man said, “I have another pair...Try it .” 发言人试了试。说:“太紧。” The speaker tries them on, says, “Too tight.” 男士根本不感到惊讶，他接着说:“我还有一副.....试试。” Not surprised at all, the man continued, “I have another pair of ...Try them on.” 发言人说:“正合适。”他带着这副假牙吃饭，讲话。 “It fits.”The spokesman said.He ate and spoke with this pair of dentures. 午餐会结束后，发言人走过来，向那位帮助他的男上道谢。“我想谢谢您给我的帮助。您的办公室在哪里?我正在找一位好牙医。” After the luncheon,the speaker came up to the man who had helped him and thanked him. “I wanted to thank you for the help you gave me.Where is your office?I am looking for a good dentist.” 男士回答:“我不是牙医。我是本地的殡仪员。” The man replied, “I’m not a dentist.I’m a local mortician.”

Chinese and Western Humor

4.1 The Evolution of Chinese and Western Humor

Humor comes from the Latin word “humor”, a physiological term referring to “ fluids”.According to Hippocrates, the person’s health and different type of temperament depends on the human body fluid mixing proportion.Therefore, the original meaning of “humor” in human body is the proportion of four kinds of fluids to the people’s minds,constitution,the tendency of the habit,temperament,or the heart,mood.The first person to introduce humor into literature was the famous English dramatist Ben Jonson.At the end of the 17th century , humor took on its present meaning;in the 18th century , there were literary writers and artists who used humor as a creative style.When the form of humor spread around the world ,it became a symbol of wisdom.Mr.Lin Yutang introduced humor into China for the first time.Although humor is a foreign word,humor culture is as old as the history of the Chinese nation.Ancient Chinese contains profound philosophy and ingenious speculation.The contemporary works of Mr.Lin Yutang and Mr.Qian Zhongshu. They are full of humorous wisdom.

4.2 The Difference of Chinese and Western Humor

The difference between Chinese and Western humor is mainly due to the differences in many aspects of Chinese and western culture and way of thinking.Chinese people shaped typical introverted mainland farming culture,which aims to seek peace and contentment,forming a capitalist type of divergent thinking,ritualistic and subtle;while the Westerners are the outward-looking marine commercial culture that seeks only wealth and strength,forming a linear thinking of brush sketch type,spontaneous and open.The formation of Chinese and Western humor is the projection of their own cultures.In such a cultural atmosphere characterized by self-sufficient, China has formed a thinking pattern of “still letting,not fighting,still retreating, not moving”.Because of this cultural mindset , an intuitive way of thinking has been formed. This mindset and way of thinking determines that humor is expressed in an intuitive way.For example, in order to explain a person’s stupidity, we should focus on describing how stupid he is when he speaks and does things,so that people can draw an intuitive conclusion immediately after reading it.However,western culture belongs to extroverted marine culture and advocates innovation. Therefore westerners have formed a speculative thinking that emphasizes creation.In humor,it is embodied in the use of restrained statements, so that people can understand humor itself by understanding litotes.The differences between Chinese and Western humor are very obvious in many aspects, but people’s love and recognition of humor are surprisingly similar.

The Different Characteristics of Chinese and Western Humor

Generally speaking,humor is not only the carrier of culture, but also the embodiment of different national cultures.The differences between the two cultures lead to the different interpretation and application of humor in China and West.Under the nourishment of different cultural systems,Chinese and Western humor has formed the characteristics of different cultural styles.Western humor is so profound that there is a saying that can explain this situation to the fullest,that is, “you can not be a good person, but you can never be a person who does not know humor.Western humor is mostly humor full of wisdom,subtle and thoughtful.They know how to self-deprecating,good at using self-deprecating methods to show humor , and at the same time trying to win each other’s affection.After thousands of years of feudal system in China,people have a strong sense of self-restraint and too many concerns. They prefer to show their perfect selves in communication with others , and it is difficult to laugh at themselves. Therefore , humor is mostly aimed at the third party,which is simple and direct.

5.1 The Different Content and Function of Humor

Humor is a kind of human aesthetic pursuit, is a reflection of the real life , the first in its theme and content reflects the national unique customs and cultural concept.The traditional Chinese Confucian thoughts influence deeply rooted, people talk about “sex” color changing, therefore, the traditional eastern humor neutral theme is the box.And this kind of theme in western humor but make up a large proportion.The functions of humor can be divided into: negative humor(is critical to life,shortcoming and negative phenomenon to negative),affirmative(to life advantages and positive phenomenon be sure and pure humor(neither contains sure, also does not contain negative,it is just for daily phenomena are abound of appeal reflects).Humor is more purely entertaining in the west,which is formed from the initial state oh humor.However,Chinese humor seems to have a heavier historical mission to serve politics.The traditional cross talk spread to the present, and the satirical jokes are mostly of this kind.Western humor culture is profound, the Russian literary scholar Chekhov said, “Do not know how to joke, is a hopeless person..”What's more, westerners are more open than Chinese, with a large proportion of pure entertainment humor. Therefore, they can have a quiet moment with anyone on any occasion, such as an American joke:A young man went to an old man’s birthday party.When he saw the old man, he sighed, “I’m sorry.I do not know whether I can come to your birthday party next year.”And the old man smiled and said : “Why not? You seem very healthy.”This is typical western humor, they play more of a function of relieving mental stress and establishing a sense of superiority, but also reflects their willingness to share and enjoy life by gathering together. Due to the differences between Chinese and Western thinking and cultural heritage,there are obvious differences in the expressions of Chinese and Western humor.Chinese humor is typically expressed through the use of language and words, most typically in comedy,where the artist’s mouth borrows from the profound Chinese language to talk about heaven and earth and comment on the past and present.There are many examples of this in Guo Degang’s comedies.Western humor,on the other hand, focuses on action interpretation. The most representative one is the humorist Chaplin,a series of silent movies that brought a lot of joy to the world.And then the later animated blockbuster Cat and Mouse also won the applause the world with its unique American way.

5.2The Different Ideologies and Aims

An ideology is a set of ideas that constitutes one’s goals,expressions,and actions. An ideology can be through of as a comprehensive vision, as a way of looking at things, as in common sense and several philosophical tendencies, or a set of ideas proposed by the dominant class of a society to all members of this society.Compared with Chinese long history, the history of western countries is comparably short.Take America for example,it is only more 230 years since it was founded . So their awareness doesn’t have much time to develop.Their awareness consists of instant fragments so they are not as passionate about political matters as Chinese citizens.China has a cultural tradition with a five-thousand-year-long history.Chinese people have been influenced by systematic and strong political idea for a long time. Influenced by those ideas and Chinese traditional system,Chinese people show a strong political tendency when dealing with the daily affairs.So the content and characteristics of Chinese humor is influenced a lot by this politic system. In China, literature works are closely related to education. So humor,as a popular culture, is aimed to satirize people with bad behavior and educate them and make them a good citizen. Although satire is one of the purpose of humor , the main purpose is to develop people’s sense of humor.Because humor is considered to be an important quality in western country,many leaders and scholar with a sense of humor are respected by people.This is because humor adds color to their personal charm and shows their wisdom.

5.3 The Different Grasp and Skills of Sense of Propriety

Chinese and Western humor has different styles and techniques due to their different cultural traditions and ideas.From the perspective of humor creation,China and Western countries develop in two different directions in the pursuit of implicature. On the macro level, humor in Western countries strives to combine subtlety with condensation and philosophizing, so that there is more room for humorous evocations. As for Chinese humor it is good at mastering the scale of subtlety and clarity.Chinese and Western humor is far less explicit in technique than in content. It is often rooted in the long-standing cultural traditions and psychological qualities of the nation, and is also very subtle and hidden. Chinese humor deliberately pursues consistent and progressive taste, and contains many “baggage” from beginning to end,which makes the audience always have strong interest , from nervous expectation to relaxed satisfaction, and then jump to new expectation and new satisfaction. However, western humor often has only suspense , but due to the requirements of the integrity and coherence of the story , there are many restriction on the use of “burden”.

The Change and Integration of Chinese and Western Humor

Cultural differences are neither superior or inferior, but rather compatible,complementary and gentle with world civilization.Various cultures coexist in the midst of exchange and conflict.Exchange and conflict are the driving force of cultural development ;coexistence is the guarantee of cultural integration.Culture autonomy and cultural self-awareness can be the way to dissolve the clash of cultures or civilizations. The future direction of cultural conflicts will be the gradual expansion of the field of human consensus, the gradual reduction of barriers to cultural exchange and integration, and the evolution of a mutually existing multicultural system in the context of globalization. Humor is a symbol of civilization and wisdom, and it brings people of different nationalities in a multicultural system , making people realize the power of humor in communication. It prompts national characteristics, express the historical accumulation of national cultural development, and reflects the appearance and status of the times from a unique perspective and in various fields. Humor’s mood and charm can only be understood by the members of the group who share the same culture.Therefore , whether we are analyzing humor techniques or studying its linguistic art, we need to first examine the cultural connotations on which it is based.In this way,humor can be better understood and cross-cultural communication can be successfully realized.The culture of humor reflects the development of the times , the progress of science and the change in social and cultural integration. It can be used from variety of starting points, and through the use of a variety of techniques, it is subtle but not revealing , light-hearted but not subversive, and subtly reflects the splendor of the culture of the times.This is the charm of humor.Humor is the words,actions and expressions that can make people laugh in the process of human communication, which is rich in content and diverse in forms .With the rapid development of information technology , the cost of transportation and communication has been greatly reduced , which makes the whole world more closely connected than ever before, and the humor between China and the West is gradually merging.While Chinese and Western humor merges gradually,we should keep national humor, at the same time, we should broaden our horizons and consider the problem as a whole,so as to keep national humor and boldly admit some commonalities and produce new humor ways.

Conclusion

Humor is a linguistic art that permeates every corner of life. It plays an immeasurable role in life with its unique artistic style, full of amusing and intriguing contexts, humor is a symbol of civilization and wisdom, bridging people of different nationalities under a multicultural system, and making people realize the power of humor in communication. Although the differences between Chinese and Western humor are obvious in many aspects, people's love and recognition of humor are surprisingly similar. In today's era of globalization, various cultures coexist in exchange and conflict, and cultures from different regions gain a certain consensus through cross-cultural communication, and Chinese and Western humor are gradually integrating. This cross-cultural integration of Chinese and Western humor is conducive to the successful communication between China and the West, as well as to the harmonious development of the world. Globalization is an inherent requirement for the development of human society.Human development is in collision and conflict advance,human development is spiraling upward.Cultures from different regions have reached a certain consensus through cross-cultural communication , and human culture needs to be integrated through differences .With the strengthening of the interaction between China and foreign countries will reach an unprecedented level,and cross-cultural study of Chinese and Western humor is conducive to the successful communication between China and the United States, and more conducive to the harmonious development of the world.

References

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英语笔译 杨紫微 Yang Ziwei 202170081605

Appreciating the English Translation of Tang Poems from the Perspective of Xu Yuanchong's Translation Theory of "San Hua" Yang Ziwei

Abstract

Classical Chinese poetry is a gem of Chinese traditional culture. As for the translation of classical Chinese poetry, Mr. Xu Yuanchong is one of the most influential translator of classical Chinese poetry, and his translated works have been unanimously recognized and highly praised by many people at home and abroad. With more than 60 years of translation experience, he has summed up a set of translation theories of his own, which can be summed up in ten words in Chinese as “美化之艺术，创优似竞赛”. This paper mainly focuses on the analysis of the application and embodiment of the mainly translation theories-- the method of "San Hua" (equalization, deepenization and generalization) in Xu Yuanchong's translation of Tang poetry.

Key words

Xu Yuanchong; “San Hua” ; Tang poetry

Introduction

For a long time, translation has been playing an important role as one of the means to promote cultural communication and communication. The translation of many literary works has also achieved high achievements, but the translation of poetry has been mediocre, and it is difficult to produce high-quality translations, especially for the translation of ancient Chinese poetry. Mr. Xu Yuanchong, a modern translation master, has been engaged in literary translation for more than 60 years and has translated numerous works. His focuses on the English translation of ancient Chinese poems and has formed the method and theory of poem translation in rhyme form. In translation, he emphasized the subjectivity of the translator, the creativity and artistry of translation, and innovated and developed the translation theories of his predecessors. He believed that the translated works could not only convey the beauty of the original text, but even surpass it. In particular, his translation theory of "the art of beautification" has proved to be successful in the English translation of ancient Chinese poems. This paper focuses on the application of Xu Yuanchong's theory of "San Hua" in the translation of Tang poetry, and analyzes and explores its role and expression effect in the translation of ancient Chinese poetry into English. This thesis consists of four main parts, we will learn a lot about the previous study of translation of Tang poetry, the introduction and application of the method of "San Hua" in the translation of Tang poetry as well as the value and influence of Xu Yuanchong's translation theories. The purpose of the thesis is to search for realizing the beauty in form, sense and sound as well as making readers and translators themselves comprehend, enjoy and take delight in reading translation of Chinese classical poetry.

Literature Review

In the past research, people focused on the analysis and exploration of the three aspects of beauty of Xu Yuanchong, therefore, the analysis and research of another theory-- "San Hua" is a field that few people pay attention to. In this thesis, I focus on the analysis and application of the method of "San Hua" in the translation of Tang Poetry. Then in the dissertation of A Study On Xu Yuanchong As A Translator （2006）written by Chen Youyang, he introduce the source and definition of the method of "San Hua" which originates from Qian Zhongshu's "the realm of sublimation". In the Literature and Translation (2016) of Xu Yuanchong, it explains the method of "San Hua" in details and gives some examples to demonstrate its application of equalization（等化）、generalization（浅化） and deepenization（深化）. In addition, it analyzes the relationship between the method of "San Hua" and the three aspects of beauty as well as the "San Zhi". "San Hua" is the method to achieve beauty in sound, sense and form, what's more, it produces the translation works that bring joy and pleasure to readers. Now that my thesis stresses on the analysis of Tang poetry through the method of "San Hua", then I should learn clear about the features and categories of Tang poetry. In the article The Discussion of English Translation of Tang Poetry (1994), Gao Yukun analyzes the characteristics and development of Tang poetry translation and he holds that Chinese classical poetry are translatable. Academic journals of Su Lin and Wang Chengcheng, both of them analyze the significance of the expression of the beauty in sense through the method of "San Hua". Since there are culture–laden words and allusions that are difficult to translate, the proper application of "San Hua" cam help us deal with it well. Then I introduce several Tang poems translated by Xu Yuanchong to illustrate the detailed application and appreciation through the method of "San Hua". In conclusion, the method of "San Hua” is applied in literary and poem translation frequently and many translators praise it. Although sometimes in order to realize the three aspects of beauty, it causes some disputes in the accuracy and faithfulness of translation works, it makes great contributions to the translation field and spread of Chinese culture. Thus, the thesis will pay more attention to the analysis, application and appreciation of translation of Tang poetry through "San Hua" to get a clearer and deeper understanding of the translation method.

Methods and Theories

Research method: Literature analysis. By reading journal articles data online and entity books such as "beautiful suffocation of tang poetry", the selection of classic poetry translation works explore the analysis theory of "three concrete application as well as the significance of the translation method, to explore the untranslatability phenomenon in ancient Chinese poetry and the translator's clever translation method in Chinese and English is how to build a bridge; At the same time, it studies the value and function of the "three Modernizations" translation theory in translation and cultural transmission. Theories: "San Hua"--Equalization,deepenization and generalization.

Subtitle 1

The Previous Study on Translation of Tang Poetry at Home and Abroad

The Tang dynasty is one of the most prosper dynasties in Chinese history. At that time, the development of Tang poetry has reached the highest level and left Chinese people a large number of valuable assets. Tang poetry possesses a very significant position in Chinese culture.

The ancient poetry of the Tang Dynasty are mainly five–or–seven–character regulated verse（五言或七言诗）. There are also two kinds of modern poetry, one is called quatrains（绝句） and the other is called metrical verse（律诗）. What's more, the quatrains and the metrical verse have five characters and seven characters respectively, so there are basically six basic forms of Tang poetry: five-character ancient style poem, seven-character ancient style poem, five-character quatrains, seven-character quatrains, five-character metrical verse, and seven-character metrical verse. Ancient poetry requires a wide range of rhymes: in a poem, the number of sentences can be more or less, the chapter can be long or short, and the rhyme can be changed. However, modern poetry has strict requirements on rhyme and disciplines of metre: a poem has a limited number of sentences, that is, the quatrains consist of four sentences while the metrical verse of eight sentences. The rhyme schemes or level and oblique tone of the words in each line has a certain regularity, and rhyme cannot be converted. It also requires the middle four lines to be antitheses. The style of ancient poetry is handed down from previous generations, so it is also called gufeng or ancient style. And modern poetry has a strict meter, so some people call it metrical poetry. The forms and styles of Tang poetry are colorful and innovative. It not only inherited the Han and Wei folk songs, Yuefu tradition, and greatly developed the style of free verse; It not only inherited the five and seven ancient poems of the previous generation, but also developed into a long epic narrative; It not only expanded the use of five-character and seven-character forms, but also created modern poetry with a particularly beautiful and neat style. It pushed the artistic characteristics of the harmony of syllables and the refinement of words to an unprecedented height, and found a most typical form for the ancient lyric poetry, which is still particularly popular with the people. However, due to the strict metrical restrictions in modern poetry, the content of the poem is easily fettered and cannot be created and played freely, which is a great defect brought by its advantages and creates troubles for its translation as well.

It is a hard work to produce high–quality and beautiful translation work of Tang poetry. Since there are not only various themes and styles in Tang poetry, but also allusions, numerals, images, phonetic words, customs, natural scenery, place names and etc. All of these pose greater troubles for translating Tang poetry. Therefore, different translators hold different views in translating Tang poetry and they have their own translation theories.

Since 80s century, there are lots of English versions of Tang poetry, such as Poetry and Prose of Tang and Song, which is translated by Yang Xianyi and Gladys, Xu Zhongjie's New Translations of Two Hundred Tang Poems, Wu Juntao's Translation of Du Fu's Poetry, Xu Yuanchong's New Translation of Three Hundred Tang Poems and Selective Translation of Li Bai's Poems, Zhang Tingchen and Bruce M.Willson's Translation of One Hundred Tang Poems and Weng Xianliang's Translation of Classical Chinese Poetry. In early times, some people thought that poems can not be translated. P.B.Shelly and R.Frost were supporters. Frost said that poetry is what gets lost in translation (Gao,1994). An Austrian philosopher, R. Jakobson believes that poetry is strictly untranslatable (Gao,1994). Although there were such opinions, most people believed that poems are translatable and many translators have explored and formed new translation theories. In addition, E.A. Nida's equivalent effect and functional equivalence theories support that poems can be translated because of language regularity. Among them, some hold to translate poems with English metrical verse, such as Xu Yuanchong and Wu Juntao; while others use free verse on poetry translation, such as Weng Xianliang and Wang Shouyi. Because of intricate features of Tang poetry, translation work is difficult to realize its original beauty in form, sound and sense at the same time, so the former pays much attention to maintain the beauty in form, sound and sense and pursues to realize the combination of sense and form, and the latter emphasizes the importance of sense and seek to reproduce the meaning of the original poem and convey the true feelings of the poet, but sometimes it lost the original beauty of rhyme and sound. As L. Wittgenstein said, "translating from one language to another is doing a ma-thematic task. And translating an emotional poem into another language is like addressing a ma-thematic problem..., which can be solved but lack of a systematic method" (Gao Yukun,1994,22). The French translator, Le Marquis d'Henvey–Saint–Denys also wrote in the preface of his translation work Collection of Tang Poetry in 1862, "Poem translation is taking great risk and it is also hard and painful, because we found that those true beauties lie in the poetry can not be expressed in any foreign language."

No matter what translation theories they use, all of them believe that the translation of poetry is an art. Under the guidance of Yan Fu's translating standards--faithfulness, expressiveness and elegance, they have been trying to achieve the beauty in form, sound and sense. Xu Yuanchong, who has been translating Chinese classical poetry for more than 60 years, made great contributions to the translation field and had remarkable achievements.

Subtitle 2

Main Ideas of Xu Yuanchong’s Literature Translation Theory

2.1 An introduction to Xu Yuanchong

Xu Yuanchong was born in Nanchang, the capital city of Jiangxi province in 1921. He graduated from the Department of Foreign Languages of Tsinghua University in 1943. He entered the Institute of Foreign Literature of Tsinghua University in 44 years and then went to Europe to study. After returning to China, he served as a professor of English and French in foreign languages schools in Beijing, Zhangjiakou and Luoyang. He has been a professor of international culture at Peking University since 1983. He has been teaching the course Translation and Appreciation of Ancient Chinese Poetry at Tsinghua University since 1999. Xu is a famous translator in our country and is called the only expert in translating classical Chinese poetry into English and French verse. He has been nominated for the Nobel Prize in Literature. Xu's business card reads "the only person who translates poetry into English and French". He advocated "Dare to be the first in translation studies", and was regarded as a crazy talent in the field of translation. "I used to like to go my own way by myself, I still like to go my own way by myself, and I will continue to like to go my own way by myself." This is the last thing Xu said to everyone.

Xu's 42 works are all translated works, except for a memoir--Remembrance of the Past, and three works on translation theory--The Art of Translation, On Chinese Verse in English Rhyme, and On Literary Translation. These translations can be divided into four categories. One is Chinese-English translation, including 22 titles such as 600 Ancient Chinese Poems, 300 Immortal Chinese Poems, The Book of Songs, Romance of the Western Chamber, and Selected Poems of Mao Zedong. The second is the Chinese translation, which includes 150 Poems of the Tang and Song Dynasties and 100 Selected Lyrics of the Tang and Song Dynasties and so on. The third type is the Chinese-English translation, including Dryden's All for Love, Scott's Quentin Duward and so on. The fourth category is French-Chinese translation, including Hugo's Selected Plays, Stendhal's Red and Black and other eight kinds. Among them, the most striking is that he translated the literary masterpieces of the past 3,000 years into English and French verse and published them one by one, which has initially outlined the development of verse in the history of Chinese literature. It can be called a great feat in the field of translation. Among his works, 300 immortal Chinese poems, published by the British Penguin Publishing Company, is listed in its "Penguin series". Mr. Xu Yuanchong is the first Chinese to publish translated books in this world famous publishing house.

In 2010, Xu Yuanchong was awarded the "Lifetime Achievement Award in Translation Culture" by the Translators Association of China. On August 2, 2014, Xu Yuanchong won the Northern Lights Award for Outstanding Literary Translation, one of the highest awards in the international translation circle. He is the first Asian translator to win this award.

2.2 A Detailed Introduction to the Method of “San Hua”--Equalization, Deepenization and Generalization

As we have mentioned that the beauty of sense is hard to reach, and these measures can help us to improve our translation capability and learn to deal with translation problems in a appropriate manner. These three measures are methodologies of translation. Xu was inspired by Qian Zhongshu's theory of " the realm of sublimation" and came up with the free translation methods.

Equalization aims to achieve the equivalence between the source language and the target language, and it can only be used when the surface meaning and the deep meaning of a poem are the same. It includes word formation, syntactic transfer, affirmation and negation and allusion transplantation, etc. For instance, Xu Yuanchong translates “孤山寺北贾亭西，水面初平云脚低”into " West of Jia Pavilion and north of Lonely Hill, Water brims level with the bank and clouds hang low". The translation of place names is consistent with the original work. This sentence belongs to literal translation and it is easy to understand. Another sentence“树深时见鹿，溪午不闻钟”is translated into " In the thick woods a deer is seen at times, Along the stream I hear no noonday chimes". It also uses the method of equalization and realize the functional equivalence.

Deepenization refers to the fact that when there are differences between English and Chinese in the process of translation, the expression of the source language and the target language is not consistent, it is necessary to complete the unspoken content in the source language in the translation, so that the target reader can understand it. This method mainly includes amplification, creating something out of nothing, splitting translation or adding some content in the translation that is not explicitly stated in the original text but has this meaning. Here are examples of Xu's translation of Tang poems:

(1)白雪却嫌春色晚，故穿庭树作飞花。 But white snow dislikes the late coming vernal breeze, It plays the parting flowers flying through the trees.

In the translation, the words " dislikes, plays and flying" show us the lovely and brisk white snow with the personification. It expresses the poet's avid expectation for spring with the help of flying snowflakes.

(2)随意春芳歇，王孙自可留。 Though fragrant spring may pass away, Still here's the place for you to stay.

This translation explicitly convey the deep meaning of the sentence. Although the spring is gone, but the autumn scenery is better. The poet is willing to stay. He likes to return to nature, loves the landscape and advocates quiet and pastoral life. It shows the poet's noble feelings and the pursuit of his ideal life. In contrast to " deepenization", there are contents involving different cultures in the two languages. Sometimes it is not easy to translate directly, so we need to use a certain method, such as subtraction, to delete the culture-heavy contents in the original text and replace them with more general and understandable contents.

(3)相见时难别亦难，东风无力百花残。 It’s difficult for us to meet and hard to part； The east wind is too weak to revive flowers dead.

In this translation, it omits the word “百”which has no influence on the meaning expression. In this way, Xu also maintains the beauty in form and sound. What's more, the word "flowers" has involved the meaning of hundreds of flowers. This is what we call subtraction, which is one of the methods of generalization. Among them, deepenization is the best way to show us the beauty of sense. It is the high standard of literary translation and generally the translation work supersedes the original one. Thus, it is regarded as creation. In the translation of Tang poetry, we have to be clear that which method we should use in the process of translation to achieve the three aspects of beauty, especially the beauty in sense. The ultimate goal of translation is to produce high–quality translation works which are better than the original ones.

Subtitle 3

The Analysis and Appreciation of Xu's Translation of Tang Poetry through the Method of “San Hua” In this part, we will study Xu Yuanchong's translation methods of “San Hua” deeply and know more about their use in translation of Tang poetry.

3.1 An analysis of Happy Rain on a Spring Night through the Method of “San Hua”

春夜喜雨 （唐）杜甫 好雨知时节，当春乃发生。 随风潜入夜，润物细无声。 野径云俱黑，江船火独明。 晓看红湿处，花重锦官城。

Happy Rain on a Spring Night Du Fu Good rain knows its time right, it will fall when comes spring. With wind it steals in night; mute, it wets everything. Over wild lanes dark cloud spreads; in boat a lantern looms. Dawn sees saturated reds; the town's heavy with blooms(Xu Yuanchong,2020,32).

This poem describes the poet's happy and brisk feelings to see the spring rain. It was written in the spring of 761 (the second year of Shangyuan). After a period of exile, Du Fu finally settled down in Chengdu, Sichuan Province due to the drought in Shaanxi Province and began a relatively stable life in the middle of Sichuan Province. When he wrote this poem, he had been living in a cottage in Chengdu for two years. He personally cultivated, planted vegetables and flowers, and socialized with farmers. He had a deep love for spring rain, so he wrote this beautiful poem describing the rain on a spring night that moistens everything.

Spring rain knows to adapt to the season. When all things germinate and grow, accompanied by the spring breeze, spring rain secretly in time to come at night to nourish all things silently. The country path and the clouds in the sky hide in the darkness, the lights of the fishing boats on the river are particularly bright. Till dawn, I saw that drizzle had moistened red flowers, which made them more charming. And beautiful flowers are full of Jin Guan City. At first, from the perspective of the beauty in three aspects, this is a five–character metrical poem and every sentence is divided into two parts. The first part includes two syllables and the second part includes three syllables. When translated into English, there are five syllables in each sentence and the first part includes two or three syllables and the second part includes three or two syllables. Moreover, the first and second sentences rhyme and so do the third and fourth sentences in both original and translation works. These show the beauty in form and sound. With regard to the expression of beauty in sense, it is not hard to know that the title and the whole poem basically used equalization(等化) so that it is easy for us to understand. In the first sentence, in order to maintain the end rhyme, Xu reversed the order of words "when spring comes" but translated it into "when comes spring". The words "good rain" express the poet's love to spring rain, which sets the general tone for the poem. And in the second sentence, he used "steals" to describe the falling rain which adopted personification and presented us a lively and dramatic picture. He also reversed words in the sentence of "mute, it wets everything", such kind of inverted sentences also seen in the second and third lines. The clouds are spreading the sky gradually indicates the upcoming of the very rain. And "looms" also reveals the carefulness of Xu's word selection. Because of the sullen weather and distance, the light from a lantern in a boat is weak and flickering due to the wind, so he chose the word "looms". Besides, words like "saturated" and "heavy" are appropriate choices. As for “锦官城”, he just translated it into "the town", which is the use of generalization(浅化) that omitted the explanation to allusion. As a whole, by means of the “San Hua”, readers can understand the poem without any difficulty and they can also feel the poet’s true feelings. Meanwhile, the choice of words, lengths of sentences and rhymes are pleasing to read and the meaning of the poem as well as the poet's true emotion are showed in the translation work. We can not only feel the poet's excited and surprised mood but also appreciate the musical beauty of the poem through reading it, which means this translation let readers enjoy and love it.

3.2 An analysis of The Sad Zither through the Method of “San Hua”

锦瑟 (唐）李商隐 锦瑟无端五十弦， 一弦一柱思华年。 庄生晓梦迷蝴蝶， 望帝春心托杜鹃。 沧海月明珠有泪， 蓝田日暖玉生烟。 此情可待成追忆， 只是当时已惘然。

The Sad Zither Li Shangyin Why should the sad zither have fifty strings? Each string, each strain evokes but vanished springs: Dim morning dream to be a butterfly; Amorous heart poured out in cuckoo’s cry. In moonlit pearls see tears in mermaid’s eyes; From sunburnt jade in Blue Field let smoke rise. Such feeling cannot be recalled again: It seemed lost even when it was felt then(Xu Yuanchong,2020,124).

It is one of the most significant poems of Li Shangyin. From the title -- the Sad Zither, we can know that the main focus of the poem is "sad".

This poem has been variously annotated. Some people thought it was a mourning work, some thought it was patriotic, and some thought it was deploring with sighs for all his talent, and others thought it was a description of missing the poet's maid Jin Se. But most people agreed with the first idea. In Xu's translation, most poems use the end rhyme and so does this. From the structure of the poem, we can see that forms of the original and translated works are the same. In regard to the full expression of its meaning, we can analyse it one by one sentence. The first couplet expresses the poet mourns for the lost golden years which we can see from words “思华年”, he translated “华年”into "springs" instead of "golden years" for the beauty of sound by means of generalization. Moreover, as the beginning of a year, spring represents vitality, energy and beauty which is like the most valuable years of people and expresses the poet cherish the golden years greatly. And "vanished springs" uses deepenization which told us that his golden years were lost forever and he was very regretful. Going forward, the second and third sentences include many allusions which is the most difficult task to deal with. The second couplet uses an allusion from Zhuangzi. It says that Zhuangzhou dreamed that he was a butterfly when he woke up from his dream, he found that Zhuangzhou was still there and he did not know where the butterfly was going. The poet took this as a metaphor for the beautiful situation he indulged in when he was young. “望帝春心托杜鹃”comes from a legend that in the late Zhou Dynasty, Shu monarch Du Yu abdicated and retired from public life, but he was unfortunately died. After death, his soul into the cuckoo, crying sadly and moving people's hearts. The poet used the story to convey his hatred and also the ardent miss for his wife. In Xu's translation, he did not translated these allusions directly into "Zhuangsheng" or "the emperor Wang", but omitted the subject. This is the adoption of generalization which avoids complicate and unnecessary explanation of allusions. Then he used the word "dim" actually showed the poet's confusion and melancholy, and "amorous heart" indicated the emperor Wang as well as the poet himself and the word "cry" expressed his sorrow for the vanished golden years and his dead wife directly. In this translation, Xu directly expresses the poet's true feelings which is hid in allusions, it is the method of specification in deepenization. In the third couplet, “沧海月明珠有泪”refers to the tears of mermaids that can turn into pearls. The poet combines the moon beads and tears into a hazy wonderland, expressing a kind of complex feelings of dis-consolation, which includes both the love for its high and clear, and the sadness for its cold and loneliness. And “蓝田日暖玉生烟”refers to the phenomenon that the jade mountain of Blue Field is often illuminated by the sun and the essence of the beautiful jade in it is rising gradually, which is as fine as hair from a distance, but nothing at all from a close look. The poet took advantage of the ideal scenery with high aesthetic meaning to express a kind of regret that can not be close to noble spirits. It is the same as the third allusion. Different from the second couplet, the first half of the third sentence roughly explained what the allusion talked about to readers while the second half used literal translation. If not understand these allusions, it will be hard for us to make it clear that what the poet want to express. Therefore, the proper translation of allusions is really formidable. The last couplet conveys the poet's grief and regrets again but it is much stronger than before. “可待成追忆”was translated into " cannot be recalled again" by Xu Yuanchong, which used negation translation in equalization. In fact, it emphasized that the beautiful days and loved ones were gone for good and it was too late to redeem for him. The word "lost" was tantamount to “惘然”that revealed the inner world of the poet. Xu had not translated“当时”into "when it was felt then" instead of “at that time”, which also belongs to the specification in deepenization, he described the feelings of the poet in details and made it clear to readers.

So from this piece of work, we can get to know that how difficult to deal with allusions properly because of the cultural differences between China and foreign countries. In my opinion, Xu did a really remarkable work. Through his translation, we can not only feel the beauty in form, sound and sense of the Chinese version, but also learn to make full use of the method of “San Hua” to help us understand its main idea and the poet's emotions. Particularly the translation of allusions that eliminates the tedious and unnecessary explanation of them which foreigners can not understand, and maintains the original beauty in form and expresses the important things involved in them as well.

3.3 An analysis of The Mourning Day through the Method of “San Hua” 清明 （唐）杜牧 清明时节雨纷纷， 路上行人欲断魂。 借问酒家何处有， 牧童遥指杏花村。

The Mourning Day Du Mu A drizzling rain falls like tears on the Mourning Day； The mourner' heart is going to break on his way. Where can a wine shop be found to drown his sad hours? A cowherd points to a cot' mid apricot flowers(Xu YUanchong,2020,160).

The first line of the poem points to the natural conditions in which the poet is exposed, such as the time and weather. Tomb-sweeping day is one of the big festivals of the tang dynasty on which people will hold family reunion, visit a grave, outing, and attend various activities. Du Mu did not see the sun in the Qingming Festival in Chizhou（池州）, but only drizzle. The second sentence turns from the perspective of objective to the subjective, focusing on the poet's emotional world. He saw passers-by on the road were busy mourning their dead loved ones, and he felt very sad and grieve. In the third sentence, the poet's feelings mingled with scenes. He was very sad when traveled in the rain. The rain wet his clothes and the weather was chilly. Then the poet sought to drown his sorrows in wine, so he asked the way. The last line tells us to whom the poet asks for directions. "A cowherd points to a cot' mid apricot flowers" brings the reader into a completely new realm, which is completely different from the previous melancholy and misery. The cowherd's warm and sweet voice, distant apricot flowers blooming like brocade, the spring is in the air, and the wine flag at the village head is fluttering. The first two lines of the poem create a sad and sentimental picture, while the last two lines show a vivid and lively one, which is contrasted and interlaced with each other. It also shows us the change of emotions of the poet.

First and foremost, from the three aspects of beauty, Xu still adopts the end rhyme. The number of words in every sentence varies by only one or two, so from the perspective of form, the whole poem is relatively neat after translation.

Then what matters most is the adoption of the method of “San Hua” in the expression of the beauty in sense. Firstly, the title “清明”was not translated into "Pure Brightness Day" or "the Qingming festival", but "the mourning day" because the poem mainly talks about the scenes and poet's feelings on mourning relatives on this very day. And for target readers, especially foreigners, they do not understand what is the Qingming festival or Pure Brightness Day and what people do on this day. Comparatively speaking, " the mourning day" makes the main idea of the poem clear and it is also in line with the original meaning. Therefore, in this poem, Xu mainly used the method of deepenization. In the first sentence,"a drizzling rain" depicts the features of spring rain which is not thick and fast. "Fall like tears" is not showed in the original work, but it is implicated in the sentence. The falling rain is like mourners' tears on their way to visit their dead loved ones. Xu excavates and expresses the implicit meanings of the original text, which eases the burden to fully understand the poem. Then “路上行人” actually do not "pedestrians" or "travelers", but "mourners". Because on the mourning day, those people were engaged in paying respect to the dead and they hurried on the road due to the rain. Xu translated “欲断魂” into "heart is going to break" which belongs to free translation and expressed the mourner's deep sorrow. In the third line, "wineshop" points out that the poet wants to drink down his sorrow, and "drown his sad hours" makes it clear and touching. In the original text, there is also not the purpose why the poet looks for a wineshop, but Xu's translation reveals everything. It belongs to specification and amplification. The last sentence is the answer to the question before--There is a wineshop mid apricot flowers. If let us translate“杏花村”, it could be "apricot village". But after thinking twice, we will notice that it could not be an apricot village, but a cot hid among the apricot flowers which is more appropriate and beautiful. On the whole, through reading Xu's The Mourning Day, we tapped the implicit meaning of every sentence out. And in this English version, Xu directly expressed the poet's heartfelt sorrow, dis-consolation and gratification. In reading this poem, we sympathize with the poet, mourn with him, and find comfort in the discovery of a wineshop hidden in an apricot flowers.

In conclusion, through the analysis and appreciation of the three poems translated by Xu Yuanchong, we further understand the use of his translation methods ”San Hua” in poetry. In general, equalization and deepenization are used frequently in poetry while generalization is mostly used to deal with allusions and etc. Generally speaking, to reverse the disadvantages of the target language, we can use the generalization method to make readers understand the text. Striving for the same high quality of translation as the original work, we can use the equalization method to make readers appreciate it. Developing the advantage of translation and make it surpass the original text, we can use the deepenization method to make readers admire it. This is Xu's skopos theory of literary translation.

Subtitle 4

The Influence of Xu's Translation Theories As an expert of translation, Xu Yuanchong forms his own systematic translation theories which are applauded by most people. And these theories are clearly showed in every piece of his work. We have to admit that his translation theories indeed shed new lights on translation and make tremendous contributions to the exchange between Chinese and foreign cultures. His translation work not only let Chinese people enjoy the foreign literary works in a fresh manner, but also present the original beauty of Chinese literature to foreigners. Under the guidance of his specific translation theories, we get a clearer map to translate poetry, novel and etc. Xu Yuanchong's translation theories “美化之艺术”is combined by extracting one word from predecessors' translation theories. It is based on their experiences and his own translation practice for more than sixty years. He inherited and developed these theories and explained them explicitly. Firstly, He believed that "elegant" no longer means quaint in today's world, but elegance or beauty. Xu said:"According to my own translation practice, I think Yan Fu's 'faithfulness, expressiveness and elegance' can be understood today as 'faithfulness to the original content, smooth translation form and giving play to the linguistic advantages of the translation.' "In my opinion,'faithfulness, expressiveness and elegance' can be understood as 'faithfulness, expressiveness and excellence'. Excellent is to give full play to the advantages of the target language, which is to use the best way of expression of the target language with words of beautiful meaning, sound and form, in other words, 'excellent' is' beautiful '." Secondly, he explains the relationship between science and art, translation words and taste or styles, truth and beauty with simple formulas. Xu says:" Chinese poetry often has multiple meanings with endless aftertaste, while English poetry expresses the literal meaning." Thus, the western science school put forward the theory of "equivalence", "equivalence of function", "equivalence of effect" and literal translation theories. Because the meaning is greater than the words, the Chinese school of art puts forward the theory of free translation and spiritual resemblance, giving play to the advantages of the target language, that is to say, the translator can not only translate all the contents of the original text but also contents are not showed in the original text. Therefore, the formula for literary translation is 1+1>2. Thirdly, he advocates literary translation should create beauty, so he proposes the advantage theory. The translation of cultural allusions is the most difficult. Literal translation cannot preserve beauty even if it can preserve truth. But if we adopt free translation, even if it can be beautiful, it is often hard to avoid distortion. A true translation can make readers comprehend it; a beautiful one can readers enjoy it, and a translation that preserves both truth and beauty will delight the reader. Therefore, the translation of poems should preserve the beauty of the original poems with as little distortion as possible. Since literary translation is an art and literary works are about people, so they have to be fascinating and exciting. If we only pursue truth without paying attention to beauty, it may be not a beautiful work, so the beauty of it is more significant than the truth.

Conclusion

Xu is a very confident, talented and prolific translator with strong character and innovative spirits in the translation field. He has a special calling card; in it there are two phrases "over sixty books published in China and aboard,the one and only person translated series of Classical Chinese poetry into English and French." In another calling card reads "without the title of academician, but he excels an academician; translated over one thousand classical Chinese poems to Europe and America". His translation theories and practices gained a wide range of recognition at home and abroad. Reading his translation of Tang poetry is an enjoyment. Nowadays, there are still many translators and translation theorists support his translation theories, particularly three aspects of beauty and the method of “San Hua”. Looking at the translation of Tang poetry in history, Xu Yuanchong's translation makes our eyes shine. The beauty of classical Chinese poetry, which is thought could not be translated, came to life in his writing. Under the guidance of the beauty in form, sound and sense, translators adopt approaches of equalization, generalization and deepenization to pursue their goals of letting readers comprehend, appreciate and even admire their translations. Although some of his translation theories are still controversial and questioned by some translation staffs, as the saying goes:" There are spots even on the sun", this does neither affect his lofty status in the translation field, nor does it negate his great contribution to the inheritance and dissemination of translation field and culture. Mr. Xu Yuanchong devoted his whole life to the cause of translation and the pursuit of beauty. He spent most of his life summarizing his valuable translation experience and forming his own translation theory system, which is helpful for us to further understand translation and further practice it. His works let us appreciate the local conditions and customs of foreign countries, but also bring foreigners to enjoy the beauty of classical Chinese poetry. In this paper, we studied Xu's mainly translation theories and cited several Tang poems to illustrate his translation methods. Through the analysis of his works, we get a clearer picture on the use of his translation theories, and we also know more about the defects of his translation which casses our reflection. After all, translation theory system can not be completed in one day. It requires us to explore and improve it through trial and error.

References

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英语笔译 张国浩 Zhang Guohao 202170081606

The Influence of Electronic Language on Chinese Language and Culture in the Internet Age Zhang Guohao

Abstract

Language is the most important communication tool and the carrier of culture. Language itself is also a cultural phenomenon. The Chinese nation has a long history of thousands of years, and its language and culture are an indispensable part of Chinese traditional culture. With the development of electronic network and information technology, electronic language is also booming under this background. Electronic language is the product of the times. It has both positive and negative effects on Chinese language and culture. Starting with the analysis of the emergence and characteristics of electronic language, this paper focuses on the positive and negative impact of electronic language on Chinese traditional language and culture in the new media era, and further puts forward a series of measures to protect Chinese traditional language and culture.

Key words

New media; Electronic language; Language culture

Introduction

With the development of current information technology and network technology, a large number of electronic languages, also known as network languages, have appeared on the Internet. And they have increasingly penetrated into people’s daily life with the development of the Internet. Electronic languages reflect the current hot social issues, and have the characteristics of simplicity. With the increase of electronic languages, it is bound to have a certain impact on Chinese traditional language and culture. Electronic languages have both positive and negative effects on Chinese traditional language and culture. While expanding the vocabulary of modern Chinese, some vulgar and malicious electronic languages are eroding the traditional Chinese language and culture. How to make electronic language and Chinese traditional language and culture coexist harmoniously in the new media era is a topic that is worth studying and discussing. This paper will introduce the background of electronic languages, the characteristics of electronic languages and the impact of electronic languages on Chinese traditional language and culture, and explore measures to protect Chinese traditional culture in the new media era.

The Electronic Language in the New Media Era

1.1. The Emergence of Electronic Language in the New Media Era

After three technological revolutions, the new media era has finally arrived. With the rapid development of the Internet, the momentum of new media in people’s lives is also growing. And the electronic language that followed became one of the most important parts of it. Today, under the circumstance of the new media era, electronic language has developed with the development of the network. The continuous development of society has made the traditional language unable to meet people’s spiritual needs. People are now facing a colorful language world on the computer screen. While lamenting people’s strong adaptability, we have to say that this is the result of the transformation of the media. The media carrier has to decide the trend of culture. When we look at the characteristics of electronic language in the era of fresh media, it is not difficult for us to have such results.

1.2. The Definition of the Electronic Language

Electronic language refers to the new language form used in new media such as network forum, chat software, mobile phone short message and so on. It was born in the electronic media and developed with the popularity of the network. Electronic language is participated by the public and can not be separated from the carrier of electronic media. It passes between the instructors of electronic media. Compared with the traditional language, there is no classical version of the electronic language because the electronic media has only appeared for a few decades. Therefore, the grammar and word order of it do not seem to conform to the traditional language norms.

1.3. The Characteristics of Electronic Language in the New Media Era

1.3.1 Electronic language is the combination of written language and spoken language.

According to different media, language can be divided into written language and spoken language. Written language has very restrictive grammar rules, a standard punctuation system and a very strong logic. With no intuitive feeling like spoken language, written language has a deterrent to people and help to form people’s rigorous rational thinking. However, spoken language is very flexible, and is not stick to one pattern. It has the characteristics of immediacy and transience, which makes spoken language not as easy to store and popularize as written language. There is a confrontation between written language and spoken language inadvertently, and this confrontation has been eased in today’s new media era. Electronic language acts as such a bridge. Electronic language not only has the expression environment of written language, but also has an obvious tendency of colloquialism. Whether it is online chat, forum post or mobile phone short message, it is not completely the same as the traditional expression. Since electronic language requires users to type what they want to say on the screen, and requires the receiver to browse the information through their eyes, so it has obvious characteristics of written style in this way. However, it is also influenced by the colloquial style, so there is obvious mutual penetration from both sides. Generally speaking, electronic language is a kind of colloquial written language, which fully integrates the two types to serve its own needs.

1.3.2 Electronic language is pictorial and vivid.

In the new media era, the recipients of electronic media can not learn the rich body language of the communicator from the electronic screen, but they can get some information by some vivid dynamic expressions sent by the messenger. People often use various symbols on the keyboard to create a lot of very vivid and humorous facial expressions to express their body language at that time, in which there is almost no difference between happiness and sadness in real life. These electronic languages are very interesting on the electronic screen and often make people laugh, which instantly shorten the distance between the information sender and the receiver. Through these vivid cartoon symbols which are different from words, the communicator penetrates parts of the meaning he wants to convey, making the virtual electronic media full of reality and immediacy. As a result, many relaxing and humorous electronic languages have emerged. They are not only humorous, but also easy to understand. This kind of relaxing and humorous style caters to the needs of modern people to relax their body and mind, so that the tense young generation can speak freely. When facing a boring topic, they can also discuss with each other in a humorous tone, which undoubtedly brings an unparalleled happy experience to the users of new media.

1.3.3 The expression of electronic language depends on the context and its meaning is vague.

Context refers to the speech environment, which includes both linguistic factors and non-linguistic factors. Contextual factors such as context, time, space, situation, object, and discourse premise, are all related to the use of words. Context includes specific time, specific space, specific scenes, specific characters and so on. Electronic context mainly refers to some new media such as electronic bulletin boards and e-mails. Electronic language in the new media era has a great dependence on the context of electronic media, and many electronic languages are no longer relevant after leaving the environment of electronic media. Electronic context mainly refers to some new media such as e-mails. Electronic language in the new media era has a great dependence on the context of electronic media, and many electronic languages are no longer relevant after leaving the environment of electronic media. Therefore, electronic language is bound to be misunderstood without a big context. The context of electronic language has always been open, allowing everyone to join freely. Different media will produce different languages. Electronic language is generated with the arrival of the new media era and will develop with the continuous development of the new media. The characteristics of electronic language are inseparable from the convenience of transmission, fast replication and various presentations of new media. Therefore, with the continuous development of new media, the era of electronic language has come.

1.3.4 Electronic language is highly dependent on network information technology media.

The intelligent terminals represented by computer, electronic information technology and Internet technology have created electronic language and the unique paralanguage of electronic language such as emoji, which not only makes up for the lack of body language such as expressions, movements and moods of language users, but also makes electronic language form multiple forms of expression, such as structured, semi-structured and unstructured forms. At the same time, network information technology has built a platform for the use of electronic languages, such as various forums, QQ groups, micro-blogs, We Chat and other virtual spaces, so that spoken or written languages and other different types of languages and dialects communicate with each other. Without the network information technology, the electronic language cannot exist. This technology also breaks the limitation of traditional spoken and written language, making the electronic language a super language without the limitation of time, space and region. Therefore, the modern information technology with computer, communication, network and electronic technology as the core is the material basis for the generation and use of electronic language.

The Influence of Electronic Language on Chinese Traditional Language Culture

The new media era is a multilingual society, so there is an obvious language-mixing phenomenon in electronic language. In electronic language, there is no absolute authority and anyone can speak freely, which makes the electronic language have a strong vitality and a huge impact on the traditional Chinese language and culture.

2.1 The Positive Influence

2.1.1 It can promote the development of Chinese language and culture

The electronic language has a variety of changes. Its simple, fast and vivid features not only meet the needs of the new media era, but also give people a fresh and lively feeling. Any language in the world is constantly updated and developed in use. Language innovation is an extremely important factor and a manifestation of vitality of a language. Without innovation, there is no development of language. Denying innovation and resisting innovation are equal to killing the vitality of a language. With the continuous development of electronic language, a large number of new words have emerged and the number of loanwords have increased. And with the extensive use of lettered words and numerals, Chinese vocabulary has been greatly enriched and developed. In the aspect of pronunciation, we use some homophonies to replace some Chinese words. For example, now we use “酱紫”to replace “这样子”. In terms of grammar, electronic language does not adhere to traditional grammar, which enriches and transforms the grammar system, and distorts conventions. In addition, electronic language has accelerated the demise of some old words. This series of characteristics makes the Chinese language fully nourished and breaks the barriers to knowledge. As a result, Chinese language spreads rapidly. At the same time, it adds the fun and color of people’s lives, making cultural exchanges unprecedentedly free and prosperous.

2.1.2 It can promote the transformation of reading methods.

In the era of new media, electronic language is constantly innovating and changing. With the continuous progress of technology, people’s reading methods are changing. Today’s electronic media reading is basically replaced by “hypertext” and “hyperlink”. People can read everything related to the text by clicking on links one by one, which is much more convenient than before. This way also satisfies people’s psychology of seeking knowledge and curiosity. In addition, with the popularization of high-tech products such as mobile phones and tablet PCs, mobile reading begins to prevail. People’s reading is no longer confined to a place. Through these new media, people can easily read anytime and anywhere, which generally improves the reading efficiency.

2.2 The Negative Influence

Firstly, the emergence of electronic language may make Chinese traditional language and culture be in danger of dating. Chinese traditional language and culture is the summary of experience of the continuous development of the Chinese nation. And it is also the national spirit gradually condensed in the long-term social practice. The language culture full of the fine tradition of the Chinese nation not only provided great power for the development of the Chinese nation in the past, but also will play an important role in the future of the Chinese nation. However, in today’s new media era, young students are the main users of electronic media. Since they are particularly sensitive to new things and electronic language has the characteristics of convenience, rapidity and image, it has a fatal attraction for young students who like to pursue new things. While they continue to create electronic language, they also continue to penetrate electronic language into their own lives, which makes Chinese traditional language and culture more and more distant from them. If things go on like this, it will inevitably lead to the dating of Chinese traditional language and culture, and make the future of traditional language and culture bleak.

Secondly, the trend of vulgarization of some electronic language has produced cultural garbage. In the new media era, electronic language constantly pursues individuality and innovation. However, there are also some shortcomings. The virtuality and obscurity of the network make it easy for both sides of the dialogue to relax or even unbridled in their communication, which results in the uncivilized electronic language. Some electronic languages abuse other people or even carry out personal attacks with rude words and dirty words, losing the minimum civilization. And information surplus will produce information garbage, making people consume more time to filter the information. This is a manifestation of information pollution. All these phenomena will seriously affect people’s normal life ord